The Chicago Symphony Orchestra family joins the music world in mourning the loss of Sir Peter Jonas, the legendary British arts administrator and opera company director, who died yesterday in Munich following a long illness. He was seventy-three. Jonas was personal assistant to Sir Georg Solti from 1974 until 1977, and he served as the first artistic administrator of the Chicago Symphony Orchestra from 1978 until 1985.

“Peter Jonas led a Helden life,” commented Lady Valerie Solti from her home in London. “He was a very special, amazing, and highly talented man—very disciplined, very dedicated, highly intellectual, and quick witted—as was shown by his incredible career. Peter was a legend and a luminary in the world of international opera, and no one had a more thorough knowledge of the repertoire and who should be performing it. There was an extraordinary brilliance about him, as an administrator and as a human being, and despite his health challenges, Peter kept going, never complained, and never gave up.”

In October 1977, John Edwards, general manager of The Orchestral Association, announced that Jonas had been appointed artistic administrator for the Chicago Symphony Orchestra, effective January 1, 1978. According to a press release, “The position for which there is precedent among a number of symphony organizations in the United States and Europe is a new one for the Chicago Symphony Orchestra . . . [and Jonas] will assist the general manager and music director in programming, selection of artists, and other details of the subscription and non-subscription concerts of the orchestra in Chicago [including] arrangements for recordings and TV and for future American and overseas tour programs.”

According to Martha Gilmer, who succeeded Jonas in Chicago, “Peter was, to use Berlioz’s words, a ‘firebrand.’ . . . Peter was my mentor and friend. His incredible programming vision, and his connection with the great artists all over the world enhanced the years that he was at the CSO, and of course continued with his leadership of the English National Opera and the Bavarian State Opera. His close relationship with Claudio Abbado resulted in amazing performances of Berg’s Wozzeck in a semi-staged version that I will never forget. He was responsible for bringing Carlos Kleiberto Chicago twice in amazing performances. In addition to symphonic repertoire, the Orchestra regularly performed concert opera including Solti’s performances of Verdi’s Falstaff, which also went to Carnegie Hall, and Schoenberg’s Moses und Aron.

“Peter battled cancer for all of his life. The first time I met him he shook my hand and in a characteristically Peter way said, ‘Nice to meet you, but I’m not going to be in this world for much longer.’ That was in 1977. I worked for him from 1979 until he left to run the English National Opera in 1985. He was a force of nature, loving the fight on behalf of the sustenance and the triumph of the arts. He embraced life and hiked Europe from North to South and East to West. His years in Chicago were pivotal to the Orchestra’s history, including his work with Daniel Barenboim (who would succeed Solti as music director), as well as Erich Leinsdorf, Klaus Tennstedt, and many others.” (Gilmer served the Chicago Symphony Orchestra Association for thirty-five years, first as an intern in 1976 and ultimately as vice president of artistic planning and audience development. Currently, she is chief executive officer of the San Diego Symphony.)

“I know I’m speaking with Solti’s voice when I say that we were enormously proud and blessed to have known Peter and to have had his presence in our lives,” continued Lady Solti. “Another bright, brilliant light has gone out, but the memory of that light remains.”

In addition to his twenty-two-year tenure as music director of the Chicago Symphony Orchestra (1969-1991), Sir Georg Solti held a number of notable posts with other orchestras and opera companies.

At the Bavarian State Opera in Munich in 1952, leading Wagner’s Das Rheingold

His first official post was with the Bavarian State Opera in Munich, where he served as music director from 1946 until 1952. Subsequently, he was also Generalmusikdirektor and Impresario for the Frankfurt Opera from 1952 until 1961.

Shortly after his guest conducting debut with the Los Angeles Philharmonic in 1959, he was invited by Dorothy Chandler—then the chairman of the Philharmonic’s board—to become their music director beginning the following year. He accepted.

Also in 1959, following the tremendous success in a production of Strauss’s Der Rosenkavalier at the Royal Opera, Covent Garden, he was invited to become music director by their chairman, the Earl of Drogheda.

In Solti’s words: “To his great surprise, I explained to him that although I was honored by the offer, I did not want the job, and that my refusal had nothing to do with the salary. I had accepted the directorship of the Los Angeles Philharmonic because I felt that I had spent enough time as an opera conductor and wanted to concentrate on symphonic music, and privately, I was not certain that I would be able to do justice to both Los Angeles and London if I accepted both jobs.”

While in Los Angeles for concerts in January 1960, Solti met with Bruno Walter who insisted he take the offer from Covent Garden. Solti took Walter’s advice and telegrammed his acceptance to David Webster (general manager of the Royal Opera House). They agreed that his residence would start in the fall of 1961, one year after the beginning of his tenure in Los Angeles.

At the same time, twenty-three-year-old Zubin Mehta had been invited to be an assistant conductor in Los Angeles. For the 1961-62 season, Fritz Reiner had been engaged to guest conduct the Philharmonic, but after his heart attack in October 1960, he canceled all engagements. According to Solti: “Without consulting me, Mrs. Chandler decided that Reiner’s concerts should be given to Mehta. In June 1960, while I was in London on Covent Garden business, I received a telegram from Mrs. Chandler, saying, ‘With your kind permission I have engaged Zubin Mehta as chief guest conductor of the Philharmonic.’ I was horrified. I had nothing at all against Mehta, who was an outstandingly talented young conductor, but the fact that the chairman of my new orchestra’s board had engaged a chief guest conductor without asking my opinion was intolerable. . . . I cabled back to say that under these conditions, I was unable to honor my contract in Los Angeles.”

Receiving applause with members of the Frankfurt Opera on tour in Paris in 1959, following a performance of Mozart’s The Marriage of Figaro

Solti went on to serve as music director at the Royal Opera House, Covent Garden from 1961 until 1971. He also served as music director of the Dallas Symphony Orchestra for the 1961-62 season.

During Solti’s one season in Dallas, he was approached by two members of the CSO’s Orchestral Association, Eric Oldberg (chairman of the board) and Seymour Raven (general manager). Fritz Reiner had announced his retirement at the conclusion of the 1962-63 season and they were searching for a possible replacement. Solti was concerned about not being able to honor his commitment to Covent Garden and wasn’t able to accept an offer.

In 1967, new general manager John Edwards, “came to tell me that Jean Martinon, Reiner’s successor, would be leaving the orchestra the following year and to ask whether I would be willing to become music director. I was certainly willing, but I thought that the job might be too much for me, inasmuch as I was still committed to Covent Garden. I suggested sharing responsibilities with [Carlo Maria] Giulini, who had worked often in Chicago and was much liked there.” After some negotiation, it was agreed that Solti would be music director and Giulini would become the CSO’s first principal guest conductor beginning in the fall of 1969.

Finally, Sir Georg Solti founded the World Orchestra for Peace in 1995 to commemorate the fiftieth anniversary of the United Nations. He only conducted the orchestra’s inaugural concert on July 5, 1995, in Geneva, Switzerland. According to Sir Georg, “I was delighted to be involved in this event, as the UN is an organization in which I firmly believe, although I wish it could have more power and be allowed to function more effectively. Fittingly, the orchestra’s seventy-nine outstanding musicians came from forty-five orchestras in twenty-four countries. We played Rossini’s William Tell Overture as a tribute to Switzerland, our host country; Bartók’s Concerto for Orchestra, to commemorate the fiftieth anniversary of the composer’s death; and the final scene from [Beethoven’s] Fidelio, for its theme of liberation.”